The following contains mild spoilers for The Hitchhikers’ Guide to the Galaxy.
Following its birth as a 1978 BBC Radio sitcom through its many and varied adaptations, Douglas Adams’ The Hitchhikers’ Guide to the Galaxy has become an enduring part of our culture. Despite the fact its satire centers on the anxieties of Britain at the tail end of the ‘70s, its unique wit and surrealism have brought it worldwide fame. It is a rite of passage for at least one subset of British teens and their anglophile cousins, as well as a tech culture shibboleth that has embedded itself in the broader culture. Now, it has been reborn as a live immersive theatre production at London’s Riverside Studios that preserves the series most singular quality: Its messiness.
Given it started as a half-hour radio comedy, Hitchhikers’ plot is surreal, episodic and prone to (what appear to be) digressions. But the broad shape of each version of the story sees Arthur Dent waking up to discover bulldozers about to demolish his home to make way for a new highway. He is distracted from his protest by his friend Ford, who reveals he is not an out-of-work actor, but an alien researcher for a book called The Hitchhikers’ Guide to the Galaxy. Minutes later, the Earth itself is demolished to make way for a new interstellar highway, but Ford and Arthur hitchhike onto one of the ships demolishing the planet.
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The “book” itself is in fact a small tablet containing a Wikipedia-style trove of knowledge that acts as the series’ narrator. Still wearing his pajamas, Arthur is dragged across the universe in various adventures which culminate in meeting a group of multi-dimensional aliens looking to discover the ultimate meaning of life, the universe, and everything. Subsequent radio series and novels take the same characters forward, backward and sideways with diminishing returns. Adams’ love of the long shaggy dog joke means that the ultimate question and the ultimate answer is… “What do you get if you multiply six by nine?” “Forty-Two.” (God’s final message to his creation is a similar tale, revealed as “We apologise for the inconvenience.”)
Image of the Vogon Cargo Hold, one of the immersive sets. (Jason Ardizzone West / Hitchhikers Live)
Each adaptation is twisted and turned to suit its new format, so there’s only a handful of essentials. Arthur, Ford, The Book, 42 and the Eagles’ Journey of the Sorcerer (the chorus of which is the theme) are the only mainstays. It should come as no surprise then that generous liberties have been taken here to compress the sprawling journey narrative into a format suitable for a live immersive theatre show. [If you’re unfamiliar, rather than sit and watch the action unfold on a stage, you’re instead walking around an environment with the story taking place in front of you. You can even engage with the actors directly at points, although only if you want to.] Here, you’ll be loitering in the bar of the Horse and Groom pub, the cargo hold of the Heart of Gold, the… cargo hold of the Vogon destructor ship and the factory floor at Magrathea.
Fenchurch and Arthur lock eyes at the Horse and Groom. (Jason Ardizzone West / Hitchhikers Live)
To try and impose some degree of conventional narrative on the story, Hitchhiker’s Live takes the beats of the first story (in all its forms) and the romance from the fourth novel, So Long, and Thanks for All the Fish. We spend most of our time with Ford (Oliver Britten), while Arthur (Robert Thompson) flits in and out of the narrative as part of his universe-spanning quest to reunite with his beloved Fenchurch (Kat Johns-Burke). We get to spend a little time with Zaphod Beeblebrox (Lee V-G) and Slartibartfast (Richard Costello), while (one form of) Trisha McMillan (Lenora Crichlow) only appears as a recorded voice identified with a photo that looks a lot like a publicity shot from Avenue 5 rather than one taken fresh for this show.
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